Mark Underwood

“Keep Me On Your Mind/See You Free” eclipses the already high standard of their previous two albums and demonstrates the value of genuine improvisation in popular music and the unique natural chemistry at the heart of Bonny Light Horseman.

The hugely successful theatrical production of Anaïs Mitchell’s Hadestown returns to London and this reissue of the Original Broadway Cast Recording is the next best thing to seeing the production in its entirety.

Frontier Ruckus’ ‘On the Northline’ is lifted over the minor keys as they explore the redemptive power of love and the potential for salvation when life can appear at its bleakest. A highly recommended album.

Steven Adams has already been called a national musical treasure, and on ‘Drops’, he charts a course between songs which contrast light and shade, the serious alongside the humourous. We should be grateful that some fifteen years on, he is still forging his own unique path.

Grace the Blue is the assured solo debut album from The Shee’s Olivia Ross. Given the strength of her songwriting and ability to choose a lineup of the finest backing musicians, it’s to be hoped that the wait for her sophomore release is far shorter. 

Alexander Ellis – Our Man In The Field – talks candidly about his experience of recording his latest album, Gold On The Horizon, with Tucker Martine, his approach to songwriting, the people who inspire his songs and more.

Jack Sharp, in his “post apocalyptic downer folk-rock” side project Large Plants, explores the natural world and his inner thoughts on his prickly sophomore release, The Thorn.

We get an insight into the highly anticipated, revamped theatrical production of Anaïs Mitchell’s Hadestown, which is set to open at the Lyric Theatre in February 2024, five years after its sold-out run at the National Theatre.

It’s often said that lullabies exist in a liminal space, on the ill-defined boundaries between sleep and wakefulness. On this fine album, Abigail Lapell continues to push her own musical boundaries.